Skip to content

Altered Exposure – Post-Photographic Perspectives

TIFFANY CALVERT - E2 KLEINVELD & JULIEN - SARAH JACOBS - PETER OLSON - PETER SARKISIAN

"First Saturdays" Opening Reception - 6 December 5-9 PM - "Holiday Cheers" holiday-themed art walk

November 5 – December 13, 2025

TIFFANY CALVERT, #452, 2024

TIFFANY CALVERT

#452, 2024

oil on water based latex print on canvas

14h x 11w in
35.56h x 27.94w cm

TiCa034

TIFFANY CALVERT, #449, 2024

TIFFANY CALVERT

#449, 2024

oil on water based latex print on canvas

20h x 16w in
50.80h x 40.64w cm

TiCa032

TIFFANY CALVERT, #417, 2023

TIFFANY CALVERT

#417, 2023

oil on water based latex print on canvas

68h x 55w in
172.72h x 139.70w cm

TiCa025

TIFFANY CALVERT, #430, 2023

TIFFANY CALVERT

#430, 2023

oil on water based latex print on canvas

60h x 48w in
152.40h x 121.92w cm

TiCa020

TIFFANY CALVERT, #408, 2022

TIFFANY CALVERT

#408, 2022

oil on inkjet print on canvas mounted to panel

14h x 11w in
35.56h x 27.94w cm

TiCa019

TIFFANY CALVERT, #446, 2024

TIFFANY CALVERT

#446, 2024

oil on water based latex print on canvas

60h x 48w in
121.92h x 152.40w cm

TIFFANY CALVERT, #448, 2024

TIFFANY CALVERT

#448, 2024

oil on water based latex print on canvas

20h x 16w in
50.80h x 40.64w cm

TIFFANY CALVERT, #402, 2022

TIFFANY CALVERT

#402, 2022

oil on water based latex print on canvas

28h x 22w in
71.12h x 55.88w cm

TIFFANY CALVERT, #409, 2022

TIFFANY CALVERT

#409, 2022

oil on water based latex print on canvas

28h x 22w in
71.12h x 55.88w cm

E2 - KLEINVELD & JULIEN, Ode to Klimt's 'Portrait of Adele Bloch-Bauer I', 2023

E2 - KLEINVELD & JULIEN

Ode to Klimt's 'Portrait of Adele Bloch-Bauer I', 2023

acrylic paint over archival pigment print

39.25h x 39.75w in

unique, monotype

“Ode to Klimt’s ‘Portrait of Adele Bloch Bauer I’’ bends gender expectations by casting a man as the woman in gold; artist Epaul Julien painted over a canvas print of e2’s photograph and incorporated gold leafing in order to achieve the one-of-a-kind final result. The remake challenges viewers to question why men must stay imprisoned in traditional masculinity? Who benefits from gatekeeping feminine beauty and softness?

E2 - KLEINVELD & JULIEN, Ode to Gauguin's Les Parau Parau (Conversation), 2025

E2 - KLEINVELD & JULIEN

Ode to Gauguin's Les Parau Parau (Conversation), 2025

archival pigment print

large: 35.8 x 48 inches, edition of 3, 2 APs
medium: 26.9 x 36 inches, edition of 5, 2 APs
small: 17.9 x 24 inches, edition of 7, 2 APs

E2808_001

E2 - KLEINVELD & JULIEN, Ode to Picasso's 'Portrait of Dora Maar', 2023

E2 - KLEINVELD & JULIEN

Ode to Picasso's 'Portrait of Dora Maar', 2023

archival pigment print

large: 36 x 29.6 inches, edition of 3, 2 APs

medium: 24 x 19.7 inches, edition of 5, 2 APs

small: 16 x 13.1 inches, edition of 7, 2 APs

“Ode to Picasso’s 'Dora Maar’' is a self-portrait of e2 artist Elizabeth Kleinveld as the photographer and artist Dora Maar. Kleinveld was drawn to this particular image of Maar while grieving the death of her father in 2021; she was captivated by the sadness that seems to ooze from the canvas, how the sitter’s melancholia is obscured by the playful color contrast. For e2’s remake, artist E.Paul Julien painted directly over the photographic print of Kleinveld, emphasizing the masking of grief.

E2 - KLEINVELD & JULIEN, Ode to Van Gogh's 'Self-Portrait with Bandaged Ear and Pipe', 2023

E2 - KLEINVELD & JULIEN

Ode to Van Gogh's 'Self-Portrait with Bandaged Ear and Pipe', 2023

archival pigment print

large: 36 x 32.1 inches, edition of 3, 2 APs

medium: 24 x 21.4 inches, edition of 5, 2 APs

small: 16 x 14.3 inches, edition of 7, 2 APs

"Ode to Van Gogh’s 'Self-Portrait with Bandaged Ear and Pipe’” is a self-portrait of e2 artist E.Paul Julien as the tortured artist. This piece was inspired by Julien’s own struggles with mental health issues during isolation during pandemic lockdown, as he found himself in a place where he could relate to the fragile mindset that Van Gogh experienced through most of his life.

E2 - KLEINVELD & JULIEN, Ode to Munch's 'The Scream', 2023

E2 - KLEINVELD & JULIEN

Ode to Munch's 'The Scream', 2023

archival pigment print

large: 36 x 29 inches, edition of 3, 2 APs

medium: 24 x 19.3 inches, edition of 5, 2 APs

small: 16 x 12.9 inches, edition of 7, 2 APs

“Ode to Munch’s ‘The Scream’” depicts a non-binary subject trapped in an infinite scream against a New Orleans backdrop. This piece represents the silent pain of gender dysphoria constantly experienced by non-binary people as they traverse a binary world that would rather ignore their existence entirely.

E2 - KLEINVELD & JULIEN

E2 - KLEINVELD & JULIEN
Ode to Magritte's Man in a Bowler Hat, 2018
archival pigment print
large: 36 x 26.75 inches, edition of 3, 2 APs
medium: 24 x 18 inches, edition of 5, 2 APs
small: 16 x 12 inches, edition of 7, 2 APs

E2 - KLEINVELD & JULIEN

E2 - KLEINVELD & JULIEN
Ode to Frida Kahlo's Broken Column, 2018
archival pigment print
large: 36 x 27 inches, edition of 3, 2 APs
medium: 24 x 18 inches, edition of 5, 2 APs
small: 16 x 12 inches, edition of 7, 2 APs

E2 - KLEINVELD & JULIEN

E2 - KLEINVELD & JULIEN
Ode to Rockwell's Triple Self-Portrait, 2017
archival pigment print
large: 36 x 26 inches, edition of 3, 2 APs
medium: 24 x 17.25 inches, edition of 5, 2 APs
small: 16 x 11.5 inches, edition of 7, 2 APs

E2 - KLEINVELD & JULIEN

E2 - KLEINVELD & JULIEN
Ode to Grant Wood's American Gothic, 2016
archival pigment print
large: 36 x 31.25 inches, edition of 3, 2 APs
medium: 24 x 21 inches, edition of 5, 2 APs
small: 16 x 14 inches, edition of 7, 2 APs

E2 - KLEINVELD & JULIEN

E2 - KLEINVELD & JULIEN
Ode to Wyeth's Christina's World, 2017
archival pigment print
large: 24 x 36 inches, edition of 3, 2 APs
medium: 16 x 24 inches, edition of 5, 2 APs
small: 10.75 x 16 inches, edition of 7, 2 APs

E2 - KLEINVELD & JULIEN

E2 - KLEINVELD & JULIEN
Ode to Whistler's Arrangement in Grey and Black No. 1, 2014
archival pigment print
large: 30 x 32 inches, edition of 3, 2 APs
medium: 24 x 26.5 inches, edition of 5, 2 APs
small: 16 x 18 inches, edition of 7, 2 APs

E2 - KLEINVELD & JULIEN

E2 - KLEINVELD & JULIEN
Ode to Waterhouse's The Lady of Shalott, 2017
archival pigment print
large: 27.75 x 36 inches, edition of 3, 2 APs
medium: 18.5 x 24 inches, edition of 5, 2 APs
small: 12.25 x 16 inches, edition of 7, 2 APs

E2 - KLEINVELD & JULIEN

E2 - KLEINVELD & JULIEN
Ode to Millais' Ophelia, 2013
archival pigment print
large: 24.5 x 36 inches, edition of 3, 2 APs
medium: 16 x 24 inches, edition of 5, 2 APs
small: 11 x 16 inches, edition of 7, 2 APs

SARAH JACOBS, Amethyst Dynamite, 2024

SARAH JACOBS

Amethyst Dynamite, 2024

oil and print of watercolor-designed patterns on canvas

36h x 60w in
91.44h x 152.40w cm

SARAH JACOBS, Oh, I Feel Ya, 2020

SARAH JACOBS

Oh, I Feel Ya, 2020

oil and digital print on canvas

42h x 39w in
106.68h x 99.06w cm

SaJa012

SARAH JACOBS, The Gamblers, 2024

SARAH JACOBS

The Gamblers, 2024

oil, photograph, digitized watercolor, metal leaf, velvet, velveteen, and jingle bells on canvas

30h x 29w in
76.20h x 73.66w cm

SaJa011

SARAH JACOBS, Portrait of the Viewer as Hope, 2024

SARAH JACOBS

Portrait of the Viewer as Hope, 2024

oil, photograph, and collage of previous paintings on canvas

41.50h x 41.50w in
105.41h x 105.41w cm

PETER OLSON, Adam & Eve with Snakes, 2021

PETER OLSON

Adam & Eve with Snakes, 2021

wheel thrown ceramic porcelain mix, original photography

17h x 7w x 7d in
43.18h x 17.78w x 17.78d cm

PETER OLSON, Wound Man, 2021

PETER OLSON

Wound Man, 2021

wheel thrown ceramic porcelain mix, original photography

19h x 8w x 8d in
48.26h x 20.32w x 20.32d cm

PETER OLSON, Adam & Eve with close ups, 2022

PETER OLSON

Adam & Eve with close ups, 2022

wheel thrown ceramic porcelain mix, original photography

21h x 6w in
53.34h x 15.24w cm

PETER OLSON, 6, 2022

PETER OLSON

6, 2022

wheel-thrown ceramic porcelain mix, original photography

18h x 10w in
45.72h x 25.40w cm

PETER OLSON, Flay in a Frame, Death in a Frame, and Adam and Eve in a Frame, 2020

PETER OLSON

Flay in a Frame, Death in a Frame, and Adam and Eve in a Frame, 2020

wheel thrown ceramic porcelain mix, original photography

Dimensions variable

PETER OLSON, Flay in a Frame, 2020

PETER OLSON

Flay in a Frame, 2020

wheel thrown ceramic porcelain mix, original photography

15h x 6w x 6d in
38.10h x 15.24w x 15.24d cm

PETER OLSON, Death in a Frame, 2020

PETER OLSON

Death in a Frame, 2020

wheel thrown ceramic porcelain mix, original photography

16h x 6w x 6d in
40.64h x 15.24w x 15.24d cm

PETER OLSON, Adam and Eve in a Frame, 2020

PETER OLSON

Adam and Eve in a Frame, 2020

wheel thrown ceramic porcelain mix, original photography

15h x 6w x 6d in
38.10h x 15.24w x 15.24d cm

PETER OLSON, Defaced graveyard portraits, 2020

PETER OLSON

Defaced graveyard portraits, 2020

wheel thrown ceramic porcelain mix, original photography

14h x 9w x 9d in
35.56h x 22.86w x 22.86d cm

PeOl031

PETER OLSON, Impending Doom, 2019

PETER OLSON

Impending Doom, 2019

wheel-thrown ceramic porcelain mix, original photography

11h x 8w in
27.94h x 20.32w cm

PeOl008

PETER SARKISIAN, REMOTE DRIVER (Mumbai), 2024

PETER SARKISIAN

REMOTE DRIVER (Mumbai), 2024

archival pigment print, UV overlaminate, cardboard substrate, painted hardboard, video monitor

16h x 16w x 2d in; Looping runtime: 2 min 44 sec

2/2

SOLD

In Remote Driver, a protagonist embarks on a global adventure without ever setting foot outside the virtual realm. The work combines photography, digital collage and video to portray a man driving through a diverse global landscape.

 

As the man drives, an animated world can be seen rushing past the window of his car.

This footage was filmed against the backdrop of a consumer video game, and does not reflect the diverse locations, periods or inhabitants pictured outside his vehicle.

 

The driver crashes through the simulated environment while drunk at the wheel, as if nothing he does matters.

PETER SARKISIAN, REMOTE DRIVER (Tokyo), 2024

PETER SARKISIAN

REMOTE DRIVER (Tokyo), 2024

archival pigment print, UV overlaminate, cardboard substrate, painted hardboard, video monitor

16h x 16w x 2d in; Looping runtime: 4 min 2 sec

3/3

In Remote Driver, a protagonist embarks on a global adventure without ever setting foot outside the virtual realm. The work combines photography, digital collage and video to portray a man driving through a diverse global landscape.

 

As the man drives, an animated world can be seen rushing past the window of his car.

This footage was filmed against the backdrop of a consumer video game, and does not reflect the diverse locations, periods or inhabitants pictured outside his vehicle.

 

The driver crashes through the simulated environment while drunk at the wheel, as if nothing he does matters.

PETER SARKISIAN, REMOTE DRIVER (Philadelphia), 2024

PETER SARKISIAN

REMOTE DRIVER (Philadelphia), 2024

archival pigment print, UV overlaminate, cardboard substrate, painted hardboard, video monitor

16h x 16w x 2d in; Looping runtime: 3 min 52 sec

3/3

In Remote Driver, a protagonist embarks on a global adventure without ever setting foot outside the virtual realm. The work combines photography, digital collage and video to portray a man driving through a diverse global landscape.

 

As the man drives, an animated world can be seen rushing past the window of his car.

This footage was filmed against the backdrop of a consumer video game, and does not reflect the diverse locations, periods or inhabitants pictured outside his vehicle.

 

The driver crashes through the simulated environment while drunk at the wheel, as if nothing he does matters.

PETER SARKISIAN, REMOTE DRIVER (Chicago), 2024

PETER SARKISIAN

REMOTE DRIVER (Chicago), 2024

archival pigment print, UV overlaminate, cardboard substrate, painted hardboard, video monitor

16h x 16w x 2d in; Looping runtime: 8 min 52 sec

2/2

In Remote Driver, a protagonist embarks on a global adventure without ever setting foot outside the virtual realm. The work combines photography, digital collage and video to portray a man driving through a diverse global landscape.

 

As the man drives, an animated world can be seen rushing past the window of his car.

This footage was filmed against the backdrop of a consumer video game, and does not reflect the diverse locations, periods or inhabitants pictured outside his vehicle.

 

The driver crashes through the simulated environment while drunk at the wheel, as if nothing he does matters.

, PETER SARKISIAN

PETER SARKISIAN

Green Puddle 6, 2003

tinted polymer resin on hardboard, video projection, audio

0.25h x 14.5w x 14.5d inches

PESA006

Press Release

FERRARA SHOWMAN GALLERY is pleased to announce Altered Exposure – Post-Photographic Perspectives featuring the work of: Tiffany Calvert, E2 – Kleinveld & Julien, Sarah Jacobs, Peter Olson, and Peter Sarkisian. This exhibition examines five gallery artists’ unique and innovative employment of photography as part of their respective, interdisciplinary artistic processes. Beyond the straightforward printing of the photographic image, artworks in the exhibition incorporate one or more additional media, including: painting, ceramic, video, installation, performance, and AI-technology.

Tiffany Calvert collaborates with a dueling AI program in which she feeds a dataset of nearly 1000 images of Dutch and Flemish Old Masters still-life paintings before printing and re-interpreting herself in oil paint. Conversely, photography is at the center of E2 – Kleinveld & Julien’s work. The artist-duo identify sitters, source costumes, and create elaborate sets to stage a performance to produce photographs which reference iconic works of Art History – recontextualizing them with inclusivity and timely purpose. Also toiling with concepts of old and new through the employment of Art History is the work of Sarah Jacobs, who collages her photography into her paintings which are further embellished and blended into the composition. In the center of the gallery appears several porcelain vessels by Peter Olson. At first seemingly historical objects, further investigation reveals a blend of European religious and architectural imagery combined with Olson’s own street photography, which he transfers from printed image into his clay forms. Finally, the video work of Peter Sarkisian brings still images and installations to life. In his most recent body of work, REMOTE DRIVER, the artist has created a cutout of a photo which reveals a video element – bringing the photo to life.

Distorting, intervening, transferring, embellishing, even animated – these various modalities present the viewer with a harmonious visual intersection which oscillates between the real and the imagined. Just as artists grappled with the position of painting in the rise of the digital era, the post-photographic movement questions, experiments, and reinterprets the perception and use of an image.

Press Release cont'd

The exhibition will be on view through 13 December is an official exhibition of the 19th annual PhotoNOLA festival (10-14 December). The gallery will hold an artist reception on 6 December from 5 – 9 PM in conjunction with the Arts District New Orleans’ monthly First Saturday Gallery Openings and special holiday-themed art walk event Holidays Cheers.

For more information, press or sales inquiries please contact Gallery Director Matthew Weldon Showman at 504.343.6827 or matthew@ferrarashowman.com. Please join the conversation with FSG on Instagram (@FerraraShowmanGallery) via the hashtags: #TiffanyCalvert, #E2, #SarahJacobs, #PeterOlson, #PeterSarkisian #FerraraShowmanGallery, and #ArtsDistrictNewOrleans.